Teaching provenance research at the Free University of Berlin

Free University, Berlin
Source: Wikipedia

Last April, the Free University of Berlin announced that it had initiated the first academic program in Germany on cultural plunder. Classes would be taught at the undergraduate level towards completion of a Bachelors of Art. However, no details were forthcoming about the actual nature of the program, the number of classes offered, the length of the program, the inter-disciplinary nature of the curriculum, and the scope of the content being offered to students.

As it turns out, the program itself, new as it is, is far from being that ambitious. In fact, it is a provenance research program. The novelty of teaching provenance research in an undergraduate setting is duly noted, but the fanfare surrounding the creation of the program might have been a bit over the top.

Nevertheless, let’s take a closer look at what is actually being taught and by whom. The program addresses a number of broad themes: the historical background, the impact of National Socialist cultural policy; reparations and compensation (hopefully, restitution figures here as well); case studies of provenance research conducted for auction houses, museums, private collections and claimants; Art and the Law; Sources and Documentation. Students are expected to produce research papers and present their findings at the end of the course.

There is one lecture per week. A different specialist presents a specific topic at each lecture. The program is broken down into two segments; coursework in the first semester and independent archival research in the second semester.

Although the Third Reich orchestrated institutional acts of cultural plunder in every country that it occupied, the historical locus of the program remains Nazi Germany with some considerations given to collections stolen in other parts of Europe and to the methods of the Einsatzstab Reichsleiter Rosenberg (ERR).

As to the types of looted cultural objects being covered in the case studies, emphasis, as usual, is on paintings and works on paper, but other categories are also being addressed like furniture, accessories, and Judaica.

Subsequent to the program, the Free University of Berlin has organized three month internships for the students with institutions in Berlin, Leipzig and London. The lecture “Cultural and museum policies and the art market during the Nazi era”  was taught by Meike Hoffmann together with Andreas Hüneke. Together with Uwe Hartmann, she also taught the lecture “Galleries, private collections, dealers and collectors (Aryanization, confiscation and duress sales)” while visiting the exhibition “Gute Geschäfte. Kunsthandel in Berlin 1933-45 (A Good Business: The Art Trade in Berlin 1933-45)” which was on display at the Centrum Judaicum in Berlin, 10 April-31 July 2011.

The following is a summary of the courses offered and a brief description:

Historical Background

"Looting during the Napoleonic wars and gaps in the historical record prior to the 20th century" Uwe Hartmann (AfP)

Presentation topics:

• The effect of secularization (1803) on the art trade and the development of private and public collections.
• Napoleon’s donations

"Cultural and museum policies and the art market during the Nazi era" Andreas Hüneke (Degenerate Art Research Centre, FU Berlin)

Presentation topics:

• The law to re-establish the civil service (7.04.1933) and its impact on museum directors.
• Auction houses and galleries during the Third Reich
• Consequences of Nazi Cultural Policy

"'Degenerate Art' – seizure, confiscation and exploitation of modern art" Andreas Hüneke and Meike Hoffmann (Degenerate Art Research Centre, FU Berlin)

Presentation topics:

• Confiscation of “degenerate art” at the museum of fine arts and applied arts in Halle in 1937.
• The exploitation of “degenerate art” through the art dealer Bernhard A. Böhmer.

"Galleries, private collections, dealers and collectors (Aryanization, confiscation and duress sales)" Uwe Hartmann (AfP)

Presentation topics:

• The art dealer Karl Haberstock (1878-1956) – Hitler's art dealer
• The Aryanization of the Heinemann Gallery

"Looted art and the art trade in occupied territory" Dr. Stephanie Tasch (Christie's)

Presentation topics:

• “Sonderauftrag Linz” (Special commission Linz) and the confiscation of the Adolphe Schloss collection
• Einsatzstab Reichsleiter Rosenberg and the confiscation of the Salomon Flavian collection.

Reparations and Compensation

"Public collections in Germany dealing with the burdened inheritance from1945 to the present (CCP – TVK – BADV)" Dr. Angelika Enderlein (BADV)

Presentation topic:

• The work of the American Allies in the Munich Central Collecting Point (MCCP)

"Provenance research as a political task and moral responsibility (“Washington Principles”, “Joint declaration”, current debates)" Peter Müller (BKM - Federal Government for Culture and Media)

Presentation topics:

• The dispute about the Sachs poster collection in the German Historical Museum
• The dispute about “Sumpflegende” by Paul Klee 

"Sumpflegende", Paul Klee
Source: Bloomberg

Case Studies

"Provenance research in the art trade" Isabel von Klitzing (Sotheby’s)

Presentation topics:

• The collection Henry and Emma Budge, Hamburg
• Lovis Corinth „Römische Campagna“, 1914, from the collection Curt Glaser, Berlin

"Provenance research at the Berlin State Museums" Dr. Jörn Grabowski, Dr. Petra Winter (ZA SMB - Central Archive of the Berlin State Museums)

Presentation topics:

"Der Watzmann", Caspar David Friedrich
Source: Amazon.com

• Caspar David Friedrich „Der Watzmann“ (1824/25). Acquired by the National Gallery in 1937 from Martin Brunn (Berlin)
• Johann Erdmann Hummel „Bildnis Frau Luise Mila“ (around 1815). Acquired by the National Gallery from a private collection in 1937

"Provenance research for collectors or claimants" Nina Senger (Jacques Goudstikker collection)

Jacques Goudstikker
Source: Jüdisches Museum, Berlin

Presentation topics:

• Hermann Göring and the confiscation of the Goudstikker collection
• Just and Fair Solutions: Restitution of confiscated Jewish collections in Holland using the example of the Goudstikker collection

Art & Law

"Results of provenance research as a basis for court decisions or out-of-court settlements" Carola Thielecke (HV SPK)

Sources & Documentation

"Archival material, databases and further electronic resources in use for provenance research" Dr. Andrea Baresel-Brand (Koordinierungsstelle Magdeburg) 


According to the 13 April 2011 press release accouncing the program, for more information, please contact:

Dr. Meike Hoffman
Freie Universität Berlin, Kunsthistoisches Institut, Forschungsstelle Entartete Kunst
Telefon: 030 / 838-54523
E-Mail: meikeh@zedat.fu-berlin.de

How to profit from State-sanctioned plunder: the Entartete Kunst case

The Nazi government enacted on May 31, 1938, the ”Act on Confiscations of Degenerate Art“ (“Gesetz über Einziehung von Erzeugnissen entarteter Kunst“) in order to legitimize its domestic purge of all works of art not deemed suitable in the New National Socialist Aryan Germany. By 1942, according to an inventory compiled by the Reich Ministry for Cultural Enlightenment and Religion (Joseph Goebbels' purview) at least 16,000 so-called “degenerate”works of art were accounted for in museums and cultural institutions controlled by the Nazi government.

The Nazi government selected a handful of art dealers—Ferdinand Möller, Bernhard Böhmer, Karl Buchholz and Hildebrand Gurlitt—to do their bidding and get rid of these works on the art market—read, the international art market—in order to raise cash and cleanse the German cultural landscape once and for all.

Thyssen-Bornemisza Museum
Source: Wikipedia

Institutions like the Thyssen-Bornemisza Museum in Madrid have touted these gentlemen as “saviors” of Germany’s modernist art treasures, probably because the Museum owns a number of German Expressionist works that were "saved" by Gurlitt and Buchholz. Interesting. A rare instance where thieves and their acolytes are treated as heroes. Obviously, there’s room for everyone in the pantheon of Aat.

As one can readily imagine, the Nazi-ordered global recycling of "degenerate" art was the biggest cultural fire sale orchestrated by any standing government, legitimate or other, for which there could only be one word—opportunity! And, indeed, opportunity struck high throughout the ensuing decades, even after the fall of the Third Reich in early May 1945.

Alfred H. Barr, Jr.
Source: The Art Story

Fast forward to 1964—an unusual year in the international auction market because a large number of these ‘degenerate’ works are put up for sale and snatched up by private collectors and museums, including American institutions. This is not to say that American museums did not seize earlier opportunities to absorb at prices not even fit for a flea market, priceless works of art by 19th and 20th century masters. The Museum of Modern Art (MOMA) under the enlightened leadership of Alfred Barr cashed in on various spectacular sales of ‘degenerate’ works such as the 1939 Lucerne, Switzerland, sale at Theodore Fischer’s gallery, and many subsequent transactions through third parties which allowed Barr to absorb an untold number of those works into the collections of MOMA.

In 1964, two works by Wassily Kandinsky come up for sale at Sotheby’s London—“Zweierlei Rot” which Dr. Gurlitt had ‘acquired’ for not even 100 dollars and “Ruhe” which was handled by Moeller. Both works hailed from the Berlin Nationalgalerie. “Zweierlei Rot” ended up in a private collection, giving the previous owner a handsome profit, while “Ruhe” was picked up by the Guggenheim Foundation together with dozens of other works by Kandinsky, an event that earned a small outcry in the German-language press.

While the Allied powers had denounced all transactions and laws entered into and decreed by the Nazi government between 1933 and 1945 to be null and void, thus illegal, the Allied Control Council (ACC) which ruled over the zones of occupation in Germany decreed by 1948 that the purging of German State cultural institutions had constitued a legitimate State-sanctioned act. One has to scratch one’s head in wonder at this ruling, justified by the Council by the fact that the Nazi government had not engaged in an overt act of discriminatory policy. Or could it be that, in order to avoid a wholesale purge and overhaul of the art market, it was best to let bygones be bygones? After all, if the ACC had declared the Nazi war against “degenerate” art to be illegal and consistent with its racial, anti-Semitic, xenophobic ideology, the acquisition of more than 16,000 works of art by institutions and individuals worldwide would have been subject to a massive “recall” and German state institutions placed in the awkward position of having to reclaim what they had cleansed, willingly or unwillingly.

The winners? 

According to museums and art world denizens, the general public is the winner. In the view of those who strive for ethical behavior in the global art market, there can be only one winner―the art market.